‘My Best Friend Is a Vampire’ and ’80s Queer Horror
February 19th, 2021 • Audrey Fox
When My Best Friend is a Vampire first came out in 1987, it was just…
Reading the Female Body in ‘The Autopsy of Jane Doe’
February 16th, 2021 • Kate Bowen
Against a black backdrop, wind howls. Leaves rustle. Twigs rattle and snap. Welcome to André…
How Gregg Araki’s ‘The Doom Generation’ Steered My Queer Identity and Filmmaking
February 10th, 2021 • Mark Pariselli
Upon its release in 1995, Gregg Araki’s The Doom Generation was lambasted by critics. It…
The Alien Horror of Gregg Araki’s ‘Nowhere’
February 8th, 2021 • Anthony Isaac Bradley
In 1997, Gregg Araki’s Nowhere unleashed a loud contemporary soundtrack and rowdy teenage behavior on…
Simon Sprackling’s ‘Funny Man’ Puts Freddy To Shame
February 1st, 2021 • Chris McMullen
Forget Freddy Krueger. The Funny Man is the wisecracking supernatural killer we need. Making a…
The Future of Horror Hinges on the ‘Friday the 13th’ Lawsuit
January 29th, 2021 • Lindsay Traves
Lawyer and horror journalist Lindsay Traves revisits her ‘Friday the 13th’ legal guide in light of the recent court decision.
Video Essay: The Art Of The Female Cannibal Movie
January 27th, 2021 • Jenny Nulf
One of horror’s most taboo subgenres is cannibalism. It was a subgenre for the exploitive, often…
Finding Strength in Illness With ‘The Silenced’
January 25th, 2021 • Valerie Ettenhofer
Here’s to the endless streaming menu scroll. Some nights, I choose to forgo critical consensus,…
How ‘Dark Ride’ Helped the Slasher Survive
January 22nd, 2021 • Brett Gallman
Recent releases like Happy Death Day, The Strangers: Prey at Night, and Hell Fest have…
Three Nights of Death: Folk Horror in Mosfilm’s ‘Viy’
January 13th, 2021 • Conor Small
The popularity of The Babadook, The VVitch, and Midsommar in the past five years tells us…